The term "apocalypse" usually stands for something final, the destructive end of all things, the twilight of the gods - for example, when viewed in the context of Christian iconography. The four apocalyptic horsemen bring plagues and disaster into the world so that it may dissolve into its individual components and perish into itself. The idea of equating "apocalypse" with great destruction is firmly anchored in the canon of imagery. We are familiar with the symbolism through its own genre in the film industry, fiction and other cultural fields, regardless of whether it is artistically sophisticated or trivial. They all play with anxiety and fear, which are almost inevitably linked to the term. In her series TUBES, Ela Nord reverses this approach and instead views the apocalypse as a cleansing event from which new structures and forms emerge through previous destruction. The apocalypse is not seen here as a bringer of death, but as a neutral transformer. The formula could be: Apocalypse = ashes = metamorphosis. A literal translation of apocalypse, namely "un-enveloping", is reflected in the materials used, which are not organic. These are plastics that are exposed to far greater heat than intended: melting, contracting, burning. This process gives rise to new structures, models and surfaces that seek to reproduce natural raw materials, such as wood, coal or leaves. Creating another material from an ordinary material (even if this is only apparent) characterizes the TUBES series, which does not focus on the necessarily temporary destructive manufacturing process, but on the opposite: by transforming something into another state, results are created that remind us in a positive way of the profound process of renewal and regeneration.